lecture1
Lecture1 句子结构

作表语的成分
例句
名词
名词所有格 代词 数词 形容词 副词 不定式 动名词 过去分词 现在分词
7. 状语
状语是修饰动词、形容词、副词以及全句的句子成分。 状语有时在基本结构中是必须得,否则基本结构的意义 就不会完整。状语位置非常灵活。 The girl is improving remarkably. The ancient castle is remarkably beautiful. My love is like a red, red rose, that is newly sprung in June. The students are improving remarkably fast. Unfortunately, I didn’t get the scores report.
例句 作定语的 成分 Beethoven is a natural musician. 形容词
名词 代词 His mother gave a sports car to him. He is their friend.
序数词
基数词 不定式
不定式复合结
I will give you a second chance.
5. 补语
补语是一种补足主语和宾语的意义的句子 成分,即主语补语和宾语补语。
主语补语
通常位于主语之前或谓语之后: Tired and sleepy, I went to bed. He came home sick. Her brother died young. He was found dead. She gazed at him speechless for a moment.
lecture 1 翻译标准

g. 我认为他不够格。 I don’t think he is qualified. h. 人们来五台山,目的可不都是一样。 People do not come to Wutai Mountain with one and the same purpose.
3) 译文应体现英语遣词造句的特点,同时 又应因文体而有变化。 a. 名词使用频率高,特别是含有动作性质 的抽象名词等,可以既包含丰富的信息又 十分简洁。 b. 被动形式使用率高,表现能力强。 c. 语法要求严,一般来说句子较长。 d. 介词、非谓语动词、形容词和独立结构 非常活跃。
教心理学的老师觉察到这件事, 就假冒一个男生的名义,给她 写了封匿名的求爱信,这封信 的末尾是:一个希望得到您的 青睐的极其善良的男同胞。就 这么一封信,也就一举改造了 一个人。
Having detected what was happening, her psychology teacher got an idea. In the name of a boy, he wrote an anonymous letter of love which ended with “a kind gentleman awaiting your favor.” The letter brought about transformation.
A Course in Chinese – English Translation
李洋
II. 汉英翻译的原则
汉语译成地道英语的难度, 出现各种各样的缺失:“中 国式”英语(解决办法,阅 读大量原作,观察、揣摩、 总结并模仿英语的特点、规 律和表达方法)。
1.遵循三条原则:
1) 译文必须符合英语的语法:三种轴心 结构: a. 主-系-表结构 (S+V+P) 例: a) 人类在地球上已存在多久了? How long has man been on earth? b) 牛奶变酸了。 Milk turns sour.
lecture 1

16
Linell Davis: five metaphors
❖ Culture is the story we tell ourselves about ourselves People tell stories to tell who they are and stories also change to adapt to changing circumstances.
❖ 学习别人的语言而不学习人家的文化完全 就是把自己变成是一个能说会道的傻瓜。
5
Definitions of culture
Sir Edward Tylor’s definition in 1871
“that complex whole which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a member of society”
17
Mainstream culture and subculture
❖ When we talk about culture, we mainly refer to mainstream culture.
❖ Subculture
18
县官与知府的对话 ❖ “贵县风土怎么样?” ❖ “没有大风,更少尘土” ❖ “百姓怎么样?” ❖ “白杏只有两棵,红杏不少” ❖ “我问的是黎庶!” ❖ “梨树很多,结的果实很小” ❖ “我不是问什么梨树,我是问你的小民!” ❖ “卑职的小名叫狗儿”
Lecture1

01 Warming upWarming upChoose one activity you like to do most and give your reasons.parkour rock climbing campingorienteering whitewater rafting paragliding02 Listening and Speaking01Warming upListen to the dialogue between Mike and Lynn about their weekendactivities. The following words, expressions and sentences may help you.cycling clubmake itgo camping barbecuepostHow was your weekend?I’ve posted some pictures online.They are all camping lovers.Script01Warming upcycling club自行车俱乐部e.g. He had trained hard in his cycling club .他在自行车俱乐部刻苦训练。
BACK01Warming upmake itsucceed in doing sth.成功做到某事e.g. Although she really wanted to come to visit us, she couldn’t make it because of the bad weather.尽管她非常想要来拜访我们,但由于天气糟糕而无法成行。
BACK01Warming up go camping去野营e.g. When we go camping , I hike in the woods.当我们去野营的时候,我在树林里步行。
Lecture 1-绪论

loose or minor sentences (松散句), contracted sentences (紧缩句), elliptical sentences, run-on sentences (流水句), and composite sentences (并列句). English sentence building is featured by an “architecture style” (楼房建筑 法) with extensive use of longer or subordinate structures, while Chinese is marked by a “chronicle style” (流水记事法) with frequent use of shorter or composite structures.
2. Compact vs. Diffusive
English is rigid in S-V concord, requiring a complete formal cohesion. Chinese has flexible sentence structures through semantic coherence.
他的讲话并无前后矛盾之处。 There is no inconsistency in what he said. There is nothing inconsistent in what he said 她闪亮的眼睛说明她非常激动。 Her sparkling eyes betrayed her great excitement. The sparkle of her eyes betrayed her great excitement.
Lecture-1

凭经验检查法——适用 机器不稳定
有些故障工作一会才出现,当关机后一会在开机故障 就会重复出现。这种故障原因一般是由于元器件热稳 定性不好,受热后参数改变而引起的,这种故障采用 办法,对可疑元器件进行“降温”或“升温”处理来 寻找故障所在(但有一定基础)
微机系统故障诊断方法
冷却法
电吹风,冷风档,对着可疑元件吹冷风 棉球沾上酒精,擦拭可疑元器件的表面
电磁干扰
电磁干扰主要来源与音箱设备、电机、 大功率电器、电源等。 应远离电磁干扰源,较强的磁环境容 易造成硬盘上数据丢失,显示器产生 花斑、抖动等。
温度的影响
微机系统应用环境温度 10-30摄氏度 微机机箱内工作温度比外面要高,而计算机的芯 片和集成电路内温度比机箱内高。 在正常的散热通风条件下,微机产生的热量不足 以引起电路故障。 当外界温度超过正常标准或通风散热条件差,导 致内部温度急剧上升加速器件的老化损坏。 防止高温引起故障,要注意保持通风散热。
微机系统故障诊断方法
直接观察法——适用 明显故障。
检查是否有火花,异常音响,过热,烧焦现象, 观察有关插件是否松动,接触不良,虚焊,断 线,短路,生锈,损坏以及明显故障
拔插替换法适用 ——适用 几种怀疑,尚 不能确定时
用相同功能的系统部件替换故障的机器部件, 用好的元器件替换怀疑有故障的元器件,以便 迅速找到确切的故障位置。
在具体确定是系统软件还是应用软件故障
常用维护工具
旋具:各种十字旋具和一字旋具,最好选 择带磁性旋具 钳子:尖嘴钳,剥线钳,扁口钳 镊子:在清洗和焊接时,用作辅助工具 割线刀:用于割断或切削之用 吸锡器:去锡 电烙铁:电缆线,线路板,接插件等的焊 接工作
常用维护工具
清洁清洗工具:清洗盘,清扫灰尘的毛刷, 吹气橡皮球,清洗液 万用表:指针式(测量精度高于数字式, 测量速度快)和数字式(测量结果直观, 蜂鸣器指示断通 功能较多)两种
【托福听力备考】TPO17 听力文本——Lecture 1

【托福听力备考】TPO17 听力文本——Lecture 1众所周知,托福TPO材料是备考托福听力最好的材料。
相信众多备考托福的同学也一直在练习这套材料,那么在以下内容中我们就为大家带来托福TPO听力练习的文本,希望能为大家的备考带来帮助。
TPO 17 Lecture 1 Art History(Prehistoric Art Dating)Narrator :Listen to part of a lecture in an art history class.Professor :Good morning, ready to continue our review of prehistoric art?Today, we will be covering the Upper Paleolithic Period, which I am roughlydefining as the period from 35,000 to 8,000 BC. A lot of those cave drawings youhave all seen come from this period. But we are also be talking about portableworks of art, things that could be carried around from place to place. Here isone example. This sculpture is called the Lady with the Hood1 , and it wascarved from ivory, probably a mammoth’s tusk. Its age is a bit of a mystery.According to one source, it dates from 22,000 BC. But other sources claimed ithas been dated closer to 30,000 BC. Amy?Amy :Why don’t we know the exact date when this head was made?Professor :That’s a fair question. We are talking about prehistory here. Soobviously the artists didn’t put a signature or a date on anything they did. Sohow do we know when this figure was carved?Tom :Last semester I took an archaeology class and we spent a lot time on,studying ways to date things. One technique I remember was using the location ofan object to date it, like how deep it was buried.Professor :That would be Stratigraphy. Stratigraphy is used for dating portable art. When archaeologists are digging at a site, they make very careful notes about which stratum(strata), which layer of earth they find things in. And, you know, the general rule is that the oldest layers are at the lowest level. But this only works if the site hasn’t been touched, and the layers are intact. A problem with this dating method is that an object could have been carried around, used for several generations before it was discarded. So it might be much older than the layer or even the site where it was found. The stratification technique gives us the minimum age of an object, which isn’t necessarilly its true age. Tom, in your archaeology class, did you talk about radiocarbon dating?Tom :Yeah, we did. That had to do with chemical analysis, something to do with measuring the amount of radiocarbon that’s left in organic stuff. Because we know how fast radiocarbon decays, we can figure out the age of the organic material.Professor :The key word there is organic. Is art made of organicmaterial?Tom :Well, you said the lady with the hood was carved out of ivory. That ’s organic.Professor :Absolutely. Any other examples?Amy :Well, when they did those cave drawings. Didn’t they use, like chacoalor maybe colors, dyes made from plants?Professor :Fortunately, they did, at least some of the time. So it turns outthat radiocarbon dating works for a lot of prehistoric art. But again there’s aproblem. This technique destroys what it analyzes, so you have to chip off bits of the object for testing. Obviously we are reluctant to do that in some cases.And apart from that, there’s another problems. The date tells you the age of thematerial, say, a bone or a tree, the object is made from, but not the date when the artist actually created it. So, with radiocarbon dating, we get the maximum possible age for the object, but it could be younger.Ok, let’ s say our scientific analysis has produced an age range. Can we narrow it down?Amy :Could we look for similar styles or motives? You know, try to find things common to one time period.Professor :We do that all the time. And when we see similarities in pieces of art, we assume some connection in time or place. But is it possible that we could be imposing our own values on that analysis?Tom :I am sorry. I don’t get your point.Professor :Well, we have all kinds of pre-conceived ideas about how artistic styles develop. For example, a lot of people think the presence of details demonstrates that the work was done by a more sophisticated artist. While a lack of detail suggests a primitive style. But trends in art in the last century orso certainly challenge that idea. Don’t get me wrong though, analyzing the styles of prehistoric art can help dating them. But we need to be careful with the idea that artistic development occurs in a straight line, from simple to complex representations.Amy :What you are saying is, I mean, I get the feeling that this is like a legal process, like building a legal case, the more pieces of evidence we have, the closer we get to the truth.Professor :Great analogy. And now you can see why we don’t have an exact date for our sculpture, the lady with the hood.。
托福听力TPO1原文 Lecture 1

托福听力TPO1原文Lecture 1下面就让小编来为大家介绍一下托福听力TPO1原文中Lecture 1的文本内容吧,大家要好好把握,这些都是非常有价值的材料,希望能够给准备托福听力的同学带来帮助。
TPO 1 Lecture 1Contemporary artListen to part of a lecture in a contemporary art class.ProfessorOk, I’m going to begin this lecture by giving you your next assignment. Remember I said that at some point during this semester I wanted you to attend an exhibit at the Fairy Street Gallery and then write about it? Well, the exhibit that I want you to attend is coming up. It’s already started in fact, but it’ll be at the gallery for the next month, which should give you plenty of time to complete this assignment.The name of the artist exhibiting there is Rose Frantzen. Frantzen’s work may be unfamiliar to you since she’s a relatively young artist. But she’s got a very unusual style, compared to some of the artists we’ve looked at this term. But anyway, Frantzen’s style is what she herself calls Realistic Impressionism. So you’ve probably studied both of these movements separately, separate movements, Realism and Impressionism, in some of your art history courses. So who can just sum these up?StudentWell, Impressionism started in the late 19th century. Um…the basic impressionist style was very different from earlier styles. It didn’t depict scenes or models exactly as they looked. Um… Impressionist painters tended to apply paint really thickly, and in big brushstrokes, so the texture of the canvas was rough.ProfessorGood. What else? What were the subjects?StudentWell, a lot of impressionist artists painted everyday scenes, like people on the streets and in cafes, uh, lots of nature scenes, especially landscapes.ProfessorGood. So when you go to the exhibit, I really want you to take a close look at a certain painting. It’s a farm scene. And you will see it right as you enter the gallery. The reason I think this painting is so important is that it stresses the impressionist aspect of Frantzen’s style. It’s an outdoor scene, an everyday scene. It’s kind of bleak, but you can really see those broad brushstrokes and the blurry lines. The colors aren’t quite realistic. The sky is kind of, well an unnatural pinkish yellow. And the fence in the foregroundis blue, but somehow the overall scene gives an impression of a cold, bleak winter day on a farm. So that’s the impressionist side of her work.Oh, and speaking about farms, that reminds me. One interesting thing I read about Franzten is that when she first moved back to Iowa after living abroad, she often visited this place in her town called the Sales Barn. And the Sales Barn, it was basically this place where the local farmers bought and sold their cattle, their farm animals. And the reason Frantzen went there, and she later on would visit other places like dance halls, was to observe people and the ways that they moved. She really found that this helped her work---that it gave her an understanding of body movements and actions, how humans move, and stand still, what their postures were like, too.So, what about Realism? What are the elements of Realism we should be looking for in Frantzen’s work?StudentUm… real honest depictions of subject matter, pretty unidealized stuff, and pretty everyday subject matter, too.ProfessorGood. One other painting I really want you to look at is of a young woman surrounded by pumpkins. You will notice that the woman’s face is so realistic looking that it’s almost like a photograph. The woman’s nose is a little less than perfect and her hair is kind of messed up. This is realism. But then, the background of the painting, this woman with the pumpkins is wrapped in a blanket of broad thick brushstrokes, and, it’s all kinds of zigzagging brushstrokes and lines, kind of chaotic almost when you look at it close. And there are vibrant colors. There’s lots of orange, with little hints of an electric blue peeking out.I find Frantzen to be a very accessible artist. I mean, some artists, to appreciate them, you have to know their life story. But here’s a little bit about Rose Frantzen’s life anyway. She attended art school, but was told by one of her instructors that she was not good at illustration, that she should go into advertising instead. So she took advertising classes and fine arts classes too, until she was convinced by the head of an advertising agency that her work was really good, that she could be an artist. But of course, it’s not as easy as that, and so Frantzen had to paint other people’s portraits at places like art fairs just to make money to buy paint for her more serious art work. No matter what, she never stopped painting. And now, Frantzen is doing extremely well. And her work is being shown all over the country. So I think most of us would be discouraged if we had to face challenges and difficulties like that. But what’s important is that you keep at it that you don’t give up. That’s what is really important to remember.《当代艺术》独白:听一段节选自当代艺术课堂的讲座。
- 1、下载文档前请自行甄别文档内容的完整性,平台不提供额外的编辑、内容补充、找答案等附加服务。
- 2、"仅部分预览"的文档,不可在线预览部分如存在完整性等问题,可反馈申请退款(可完整预览的文档不适用该条件!)。
- 3、如文档侵犯您的权益,请联系客服反馈,我们会尽快为您处理(人工客服工作时间:9:00-18:30)。
Lecture1:Ideas from measure theorySTAT205Lecturer:Jim Pitman Scribe:Sivakumar Rathinam<rsiva@>1.1Probability spacesThis lecture introduces some ideas from measure theory which are the foundation of the modern theory of probability.The notion of a probability space is defined,and Dynkin’s form of the monotone class theorem is presented.Definition1.1LetΩbe a set of pointsω.In probability theory,Ωrepresents all possible outcomes of an experiment or observation.Example1.2Tossing a coin has a set of outcomesΩ={Head,T ail}.Example1.3Position of a body in a3-D Euclidean space belongs to the setΩ=R3.A subset ofΩis called an event.It is natural to ask questions like whether an outcome of a random experiment belongs to to a event or not.To do this,we need to define classes of subsets of the spaceΩ.Also,since we would be talking about any combination of events,a systematic treatment would require the class of sets to have the necessary set theoretic operations:namely the sets being closed under countable unions and intersections.The next few definitions would be in this regard.Once we define the classes of sets we are interested in,one can assign a probability measure to each of these sets.Definition1.4A class F of subsets of a spaceΩis called afield if it containsΩitself and is closed under complements andfinite unions.That is1.Ω∈F2.A∈F implies A c∈F3.A,B∈F implies A∪B∈F1-1Note that by DeMorgan’s law,given that F is closed under complement,F is closed under unions if and only if F is closed under intersections.Therefore,A,B∈F implies A∪B∈F in the above definition can be replaced with A,B∈F implies A∩B∈F.Definition1.5A class F of subsets ofΩis aσ-field if it is afield and if it is closed under the formation of countable unions.That is,1.F is afield.2.A1,A2,...∈F implies A1∪A2∪....∈F.Afield is closed underfinite set theoretic operations whereas aσ-field is closed under countable set theoretic ually in a problem dealing with probabilities, one is dealing with a small class of subsets A,for example the class of subintervals of(0,1].It is possible that when we perform countable operations on such a class A of sets,we might end up operating on sets outside the class A.Hence,we would like to define a class denoted byσ(A).This class is called theσ-field generated by A.It is defined as the intersection of all theσ-fields containing A(or the smallestσ-field containing A).Now,we give the definition of the probability measure.Definition1.6A set function1P on aσ-field F is a probability measure if it satisfies the following conditions:1.0≤P(A)≤1for A∈F.2.P(∅)=0,P(Ω)=1.3.If A i∈F is a countable union of sets,then i A i∈F.If F is aσ-field,then the triple(Ω,F,P)is called a probability measure space or simply a probability space.The countable additivity of the probability measure gives rise to the following properties that are stated in a theorem.Theorem1.7Let P be a probability measure on afield F.1.Continuity from below:If A n and A lie in F and A n↑A,then P(A n)↑P(A).2.Continuity from above:If A n and A lie in F and A n↓A,then P(A n)↓P(A).3.Countable subadditivity:If A1,A2...and ∞k=1A k lie in F,thenP ∞ k=1A k ≤∞ k=1P(A k).(1.1)Example1.8If A is the class of subintervals ofΩ=(0,1),then the sigmafield generated by A,denoted by B,is called the collection of Borel sets of the unit interval. The probability space on a unit interval is then defined as(Ω,F,P),whereΩ=(0,1), F={A∩(0,1):A∈B}and P(B)=λ(B)for B∈F.Hereλis the Lebesgue measureλ((a,b])=b−a for a<b.Now we will present a key result that would help us to extend the results we have on afield A to theσ-field generated by A.This is stated as the Identitification Lemma for Probabilities:Lemma1.9(Identification Lemma for Probabilities)Let P and Q be two prob-ability measures onσ(A)where A is closed under intersections.If P(A)=Q(A)for A∈A,then P(A)=Q(A)for all A∈σ(A).Before we prove this lemma,let’s state some basic tools from measure theory that are very useful.Definition1.10A collection of subsets D of setΩis called aλ-system if1.Ω∈D2.If A∈B and B∈D,A⊂B⇒B−A∈D3.If A n∈D and A n↑A⇒A∈DTheorem1.11(Dynkin’sπ-λTheorem)Suppose A is a collection of sets closed under∩(aπ-system).If D is aλ-system with A⊂D,thenσ(A)⊂D.With this theorem let’s try to prove the identification lemma on probabilities.Proof:(of Lemma1.9)Consider D={A∈σ(A):P(A)=Q(A)}.Let’s check thatD is aλ-system.1.Ω∈D because P(Ω)=Q(Ω)=1.2.Let A∈D,B∈D.Then A⊂B implies B−A∈D.This is becauseP(B)=Q(B)⇒P(B−A)+P(A)=Q(B−A)+Q(A)⇒P(B−A)=Q(B−A).3.A n∈D and A n↑A implies A∈D.This is because P(A n)=Q(A n) P(A)=Q(A)using theorem1.7.Now directly applying Dynkinsπ−λTheorem,we get A⊂D impliesσ(A)⊂D.。